It is best experienced without preconception, expectations or advanced warning.

Movie Review (Synopsis):

Hushpuppy, an intrepid six-year-old girl, lives with her father, Wink, in “the Bathtub,” a southern Delta community at the edge of the world. Wink’s tough love prepares her for the unraveling of the universe; for a time when he’s no longer there to protect her. When Wink contracts a mysterious illness, nature flies out of whack-temperatures rise, and the ice caps melt, unleashing an army of prehistoric creatures called aurochs. With the waters rising, the aurochs coming, and Wink’s health fading, Hushpuppy goes in search of her lost mother.

In a forgotten but defiant bayou community cut off from the rest of the world by a sprawling levee, a six-year-old girl exists on the brink of orphanhood. Buoyed by her childish optimism and extraordinary imagination, she believes that the natural world is in balance with the universe until a fierce storm changes her reality. Desperate to repair the structure of her world in order to save her ailing father and sinking home, this tiny hero must learn to survive unstoppable catastrophes of epic proportions.

The threat of destruction is on the horizon as the waters could rise at any minute and wash away all that Hushpuppy and her father (Dwight Henry) know. This includes their pet pig, their chickens and the shacks they call their homes as the marshlands surrounding their residences are just as much a part of them as their own skin.

Raised as one with nature, Hushpuppy’s outlook on life is more mature than most adults. Abandoned by her mother at a young age and raised by her father with a stern hand to live off and respect the land, she is prone to listening to the heartbeats of the animals surrounding her, seemingly absorbing their life force. Even when she isn’t able to hear a thing, such as when she places a leaf to her ear, hears nothing and looks at it with a knowing shrug — “I know there’s life in you,” I imagine her saying — before she goes on to eat it with what would appear to be a full comprehension of the circle of life.

Hushpuppy narrates the feature as well as serves as our eyes and ears in this world. As the narrative pushes forward her father falls ill, the ice caps melt, tales of the ancient aurochs — seen as giant boar-like beasts standing at least six feet tall — are told and the rains soon arrive, bringing havoc to the small Delta land. Eventually, their homes and land are declared unlivable by those inhabiting “The Dry Land”, a derogatory term Hushpuppy’s father uses for those living on the other side of the levee, but for Hushpuppy and the other inhabitants of the Bathtub, all that’s important is maintaining their way of life, free from human advancements that ultimately cause more harm to the Earth than good. As Wink’s father puts it, when he can’t drink beer or catch catfish any longer, his time on Earth has come to an end. What else is there to life?

And equally difficult to resist is the explicitly American feel of the film, which might have tempted some to believe that it wouldn’t travel quite so well outside of the States, but for all of the bayou-born idiosyncracies and irresistible carnival spirit the fundamentals are so strong, and Zeitlin’s artistic agenda so successful that those who get to see it will be universally engaged regardless of where they’re from. Its enduring currency is of the unexpected: dazzling and thrilling chiefly because it is so unlike everything else audiences will have already experienced, but still packing in conventionally entertaining elements to suggest a courageous commercial release might reap rewards.

Stylistically, Zeitlin soaks his film with a delightfully effective aesthetic, suggesting poetry and magic even in the darker scenes, and pushing the dream-like narrative elements that make this little wonder something otherworldly and beautiful. Mythical beasts and feverish carnival-like sequences break up the realist moments, suggesting that the story’s blood runs rich with magic.

The film’s score is exceptional, a heady mix of Bluesy upbeat numbers that never over-express the story’s more depressed and depressing aspects, instead energizing sequences while stamping some more geographic identity onto the story. It is a perfectly suited dream-like score that helps the film stick in the memory, and the fact that Zeitlin was involved heavily in its production suggests the film-maker has a considerable number of strings to his already impressive bow.

Even without that knowledge, Beasts of the Southern Wild is an incredible debut film, overwhelming, engaging, beautifully entertaining, and it deserves to be shared.

In a forgotten but defiant bayou community cut off from the rest of the world by a sprawling levee, a six-year-old girl exists on the brink of orphanhood. Buoyed by her childish optimism and extraordinary imagination, she believes that the natural world is in balance with the universe until a fierce storm changes her reality. Desperate to repair the structure of her world in order to save her ailing father and sinking home, this tiny hero must learn to survive unstoppable catastrophes of epic proportions.

Furthermore, Fox Searchlight is behind it – the same studio that championed “The Descendants,” “127 Hours,” “Black Swan,” “Crazy Heart,” “Slumdog Millionaire,” “The Wrestler” and “Juno.” Searchlight won’t admit it, but I am sure the studio is releasing “Beasts” so early this summer so that it can slowly build its audience in limited release, then Searchlight will blitz Hollywood with DVDs early this fall, just like it did so successfully with “Little Miss Sunshine,” which was the first DVD shipped to Oscar voters in 2006. “Sunshine” also had a sassy pixie girl at its heart (supporting actress nominee Abigail Breslin) and it earned four Oscar nominations, including Best Picture. It won two — Best Original Screenplay and Best Supporting Actor (Alan Arkin).

The sound and the fury of the Beasts of the Southern Wild will be felt, from the pounding hooves of the aurochs to Ben Richardson’s glorious cinematography and an original score provided by Dan Romer and Zeitlin himself. Like I said earlier, there is something to be said for going into this film fresh and if you know too much or have read too much positivity your experience may be lessened, but I find it hard to imagine anyone could possibly walk out without having been moved by the drama you just witnessed.

Quvenzhané Wallis is playing as HushpuppyDwight Henry is playing as WinkJonshel Alexander is playing as Joy StrongMarilyn Barbarin is playing as Cabaret SingerKaliana Brower is playing as T-LouNicholas Clark is playing as SticksHenry D. Coleman is playing as Peter TLevy Easterly is playing as Jean BattistePhilip B. Lawrence is playing as Dr. Maloney

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